Moore, Witherspoon and the inevitable

Julianne Moore. There, I said it. That’s a name you’re likely going to be hearing a lot in the coming weeks, hell, probably months. She is the surest thing to come out of this year’s awards race. Ever since I saw her incredibly moving performance in “Still Alice”, back in September, it seemed like a no-brainer. Based on Lisa Genova’s 2007 best-selling novel, the film is a striking look at the nastiness and brutality that falls upon an American family when one of their loved ones is diagnosed with Alzheimer’s disease. Moore is ever so brilliant in the movie, encompassing the way a person can lose track of herself and her own identity even when she tries ever so hard to retain it.
Just through Moore’s eyes you can witness the slow detachment Alice is going through from society, friends, family, and herself. It’s a devastating film because, just like Alice, her ever deteriorating brain keeps getting erased of its precious memories without you even noticing the effects – it isn’t until the last few scenes that the devastation this disease has caused hits you.

“Still Alice” has some of the hardest scenes to watch of any movie this year, but it’s all so worth it for the humbling journey that is involved with it.
Indie filmmakers Wash Westmoreland and Richard Glatzer don’t try to pull at the heartstrings, they just tell their story in the simplest way possible, and why wouldn’t they? They have Julianne Moore at their disposal, one of the great actresses of our time (“Short Cuts”, “The Kids Are All Right”, “Boogie Nights”, “Far From Heaven”, “Safe”, “Magnolia”, “Children of Men”, “The Hours” and even next year’s “Maps to the Stars” directed by David Cronenberg, in which she plays a down-and-out actress, desperate for her next big shot). Every time she’s on screen, Cronenberg’s film ignites with excitement and his pitch black Hollywood satire gets even darker.

If Moore is the surest thing to come out of this year’s race, it doesn’t mean that the other nominees should pack it up and call it a night. For example, if Reese Witherspoon hadn’t won back in 2006 for “Walk the Line” we’d be talking about a close race to the finish. Witherspoon’s work in Jean-Marc Vallée’s “Wild” is astounding, equaling her Best Actress work as June Carter Cash. Coming out next week, the same week “Still Alice” is released, Vallée’s film is a stirring portrait of love, despair and hope. You can call it “Eat, Pray, Hike”, but that’s where comparisons should end with that Julia Roberts vehicle.
Vallée, who directed last year’s “Dallas Buyers Club”, is an artist through and through. Ever since his beginnings in Quebec cinema I’ve kept a watchful eye on him. Just check out “Café de Flore” or “C.R.A.Z.Y” to see how great of a filmmaker he can truly be.

“Wild” has a more conventional storyline than those aforementioned films but he and Witherspoon make up for it with sheer artistry. It also helps that gifted writer/novelist Nick Hornby and Cheryl Strayed – on whose book this is based – wrote the screenplay. After a brutal divorce and losing her mom to cancer, Strayed went on an 1100 mile hike of the Pacific Crest Trail by herself to try to bring meaning to a life that was crumbling. It sounds like the kind of stuff the Hallmark channel would dig, but don’t kid yourself, Vallée knows better than to stoop down to that level.
Apart from Witherspoon’s emotionally resonant performance, the other major thing you notice in the film is how incredibly well edited it is.

Going back and forth between present day, flashbacks, flash forwards and dream-like imagery can be a tricky business, but Vallée and his longtime editing partner Martin Pensa (“Dallas Buyers Club”) nail every detail. And Witherspoon, what more can be said about an actress who had me at hello ever since the day I first saw her in Alexander Payne’s “Election” (still the best performance she’s ever given). It wasn’t just that movie – her enormous talent has shone through over the years in films such as “Pleasantville”, “American Psycho”, “Cruel Intentions”, “I Walk the Line” and last year’s underrated “Mud”.

How refreshing it is to have not one but two top notch female performances coming out in the same week. These two actresses are on par with the incredible work Felicity Jones has done in the recently released “Theory of Everything”, Rosamund Pike’s harrowingly hypnotic femme fatale in David Fincher’s “Gone Girl”, Anne Dorval in “Mommy”, Scarlett Johansson in “Under the Skin” and my dark horse favorite Marion Cotillard and the mesmerizing performance she gives in “Two Days, One Night”. The latter three might not get the nominations they deserve, but I advise you to seek these performances out because they will absolutely blow you away.